635 




y 1 AMES' SERIES OF 

STANDARD AND MINOR DRAMA, 
NO. 119. 



THE FORTY-NINERS 



1^ WITH CAST OF CHARACTERS, ENTRANCES, AND KXITS, RELATIVE POSITIOHS 
rg, OP THE PERFORMERS ON THE STAGE, DESCRIPTION OF COS- 

TUMES, AND THE WHOLE OP THE STAGE BUSINESS, 
AS PERFORMED AT THE PRINCIPAL 
AMERICAN AND ENGLISH 
THEATRES. 





CLYDE, OHIO: 
A. D. AMES, PUBLISHER. 



AMES' SERIES OF ACTINa PLAYS. 

PRICE FIFTEEN CENTS EACH. — CATALOGUES FREE. 

NO, M. P. 

32 A Capital Match, fai'ce, 1 act, by J. M. Morton 3 2 

30 A Day Well Spent, farce, 1 act. by John Oxenford 7 5 

2 A Desperate Game, comic drama, 1 act, by Morton 3 2 

75 Adrift, temp drama, 3 acts, by C. W. Babcock, M.D 6 4 

80 Alarmingly Suspicious, comedietta, 1 act, J. P. Simpson. ..4 3 

39 A Life's Keveuge, drama, 3 acts, by W. E. Suter..- 7 5 

78 An Awful Criminal, farce, 1 act, by J. Palgrave Simpson...3 3 

15 An Unhappy Pair, ethiop'n farce, 1 act, by G. W. H. Griffin ..1 1 

65 An Unwelcome Eeturn, com'intrd, 1 act, by Geo. A.Munson3 1 

31 A Pet of the Public, farce, 1 act, by Edward Sterling 4 2 

21 A Romantic Attachment, comed'tta, 1 acl, oy Arthur Wood... 3 3 
43 Arrah DeBaugh, drama, 5 acts, by F. C. Kinnaman 7 5 

73 At Last, temperance drama,, 3 acts, by G. C. Vautrot 7 1 

20 A Ticket of Leave, farce, 1 act, by Watts Phillips 3 2 

100 Aurora Floyd, drama, 2 act, by W. E. Suter 7 3 

89 Beauty of Lyons, dom drama, 3 acts, by W. T. MoncriefF.,11 2 

8 Better Half, comedietta, 1 act, by T. J. Williams 5 2 

98 Black Statue, ethiopean farce, 1 act, by C. White 3 2 

113 Bill Detrick, melo drama, 3 acts, by A. Newton Field 6 4 

86 Black vs White, farce, 1 act, by Geo. S. Vautrot 4 2 

14 Brigands of Calabria, rom drama, ] act, W. E. Suter 6 1 

22 Captain Smith, farce, 1 act, by E. Berrie 3 3 

84 Cheek will Win, farce, 1 act, by W. E. Suter 3 

49 Der two Surprises, dutch farce, 1 act, by M. A. D. Clifton ..1 1 

72 Deuce is in Him, farce, 1 act, by R. J. Raymond 5 1 

19 Did I Dream it? farce, 1 act, by J. P. Wooler 4 3 

42 Domestic Felicity, farce.. 1 act, by Hattie L. Lambla ....1 1 

60 Driven to the Wall, play, 4 acts, by A. D. Ames lO 3 

27 Fetter Lane to Gravesend, ethiopean farce 2 

13 Give me my Wife, farce, 1 act, by W. E. Suter..... 3 3 

117 Hal Hazard, military drama, 4 acts, by Fred G. Andrews. ..8 3 

50 Hamlet, tragedy, 5 acts, by Shakespeare 15 3 

24 Handy Andy, ethiopean farce, 1 act 2 

66 Hans, the Dutch J. P., dutch farce, 1 act, by F. L. Cutler.. .3 1 
116 Hash, farce, 1 act, by W. Henri Wilkins 4 2 

52 Henry Granden, drama, 3 acts, by Frank L. Bingham 11 8 

17 Hints on Elocution and how to become an Actor, 

103 How Sister P. got Child Baptized, etho farce, 1 act, 2 I 

76 How He Did It, comic drama, 1 act, by John Parry 3 2 

74 How to tame Mother-in-law, farce, 1 act, by H. J. Byron. ..4 2 

35 How Stout You're Getting, iarce, 1 act, by J. M.Morton 5 2 

26 Hunter of the Alps, drama, 1 act, bv Wni. Dimond. 9 4 

47 In the Wrong Box, etho farce, 1 act", by M. A. D. Clifton 3 

95 In the Wrong Clothes, farce, 1 act, , 5 3 

77 Joe's Visit, etho farce, 1 act, by A, Leavitt &. H. Eagan 2 1 

11 John Smith, farce, 1 act, by W. Hrncock 5 3 

99 Jumbo Jum, farce, 1 act 4 3 

82 Killing Time, farce, 1 act, 1 1 

9 Lady Audley's Secret, drama, 2 act, by W. E. Suter 6 4 

3 Lady of Lyons, drama, 5 acts, by Bulwer '2 5 

104 Lost, temperance drama, 3 acts, by F. L. Cutler 6 2 

106 Lodgings for Two, comic sketch, 1 act, by F. L. Cutler 3 

^^* Catalogue continued on next page of cover. 



I 



The Forty-Niners, 

OR 

The Pioneer s Daughter, 

A PICTURESQUE AMERICAiSr DRAMA, 

IN FIVE ACTS, 

Dramatized from his ovm popular stonj of the same title 

r 
BY T. W. HANSHEW, 

AUTHOR OP 

Emotions; Leadvilh; Folic Far ine ; Ariadne; My Uncle; Will- o'' -the- Wisp; 

Black Mask ; Oath Bound; Tiger Hunter ; Wrecked Life ; Dead i/et 

Living; Miner's Oath; Out of the Grave; Hilt to Hilt; 

Shot in the Dark ; Broken Vows; Vow of Silence; 

Faithful unto Death ; The Lifer ; Friendship; 

A Woman's Destiny; Mistaken, 

To the Death; Etc., Etc, 



Printed from the Original Manuscript, with the original casts of characters, 
synopsis of incidents, costumes, relative positions, and all the 
stage business carefully marked, as performed un- 
der the direction of the author. 



COPYEIGHT SECTJEED, 1879. 




CLYDE, OHIO". 

A. D. AMES. PUBLISHER 



Ok 



2 THE 'FORTY-NINERS. ^Q f] ^^l 

Original Cast of Characters, Brooklyn, N. Y. Academy of Music, May 13th. 

1879. 

Richard Delraayne, a vxyntcry, ^ 

Hawley Brings a miner j^ T. W. Ilanshew 

Mary Ann Flam, an old craythur, \ 
Ananias Budge, a hmiimcr^ J 

Joe Wistoa, a ' Forty-Niner E. Bnttain 

Gaspard Leroy, the gold viine king J. F. lierne 

Craven Leroy, hi.^s half brother J. B. Browne 

Wun Lung, the heathen Frank Budworth 

Carmion Gutli, parson at the Peaks 11. Gwynette 

Matt Mathers, a 'Forty joiner Chas. H. Havens 

CliffCushard, "' 

Aleck Peters, " W. I Riker 

Bi^.Lib, a sluice robber J. Allison 

Kate Delmayne, the loanderer , Miss Anna Wakeman 

Margeret Gath, calledhy the miners 'Meg the .Su'ilight' Mrs. E. Brittain 

Mollie Maglone, chaynberrnaii at Leroy Dale Miss Nellie Sanford 

Jessie Leroy, the spoiled child Josie Brittain 

Miners, Vi^•ilants. 



As performed by the T. W. HfinsLew CoTi.bination, in the principal thea- 
tres in the United states, during the seasons of '79 and '80. 

Richard Delmayne, ^ 

Hawley Briggs ' ^^ ^y^ Hanshew 

Mary Ann i-lam, ( 
Ananias Budge, j 

Joe Wiston IV. J. Shea 

Gaspard Leroy George Wilkes 

Craven Leroy W. H. Hamilton 

Y/un Lung J. L. Sanford 

Carmion Gath F. 0. Savage 

I^Jatt Mathers T. Point 

CliffCushard J. F. Fay 

Aleck Peters E. S. RoWe 

Big Lib .«■. F. Boylan 

Kate Delmayne Miss Helen Adell 

Margaret Gath Miss Sara Laspelles 

Molly Maglone Miss !Nellie Satiford 

Jessie Leroy • Little Amy Slavin 

Miners, Vigilants, Etc. 

SYNOPSIS. 

ACT I. — June 5th. 1S53. Sunlight canon — dawn. The living and the 

dead. 
ACT l\.—June 5th. 1853. The cabin on the Peaks— night. The broken 

home. 
ACT III. — August 10th. 1856. The parlors of Leroy Dale — evening. 

Deserted. 
ACT lY .—December S4th. 1856. Dead Man's Gulch in the heart of the 

Sierras — midnight. The murder in the snow. 
ACTY.— June 5th. 1857. The Silver Sand Ravine — sunset, Light at 

last. - - ' 



THE 'FORTY-NINERS. 



PROPERTY PLOT. 

ACT FIRST. — Picka"xes for miners — dirfc and shovel in trap, r. — blank 
letter for Gaspard. Thunder, lightnuig and rain. Cannon ball for sound 
of stage wheels. 

ACT SECOND. — Table and chairs l. — dresser with dishes and table cloth 
up stage, Jj. Fire in fireplace, r. Meat and bread to be eaten, for miners. 
Lighted lantern ready, l. 1 e. Thunder, lightning and rain. Stool under 
window in r. flat — candle on table, l. Pickaxe for Cashard — bible for 
Matt — demijohn for "Wun Lung. 

ACT THIRD. — Fancy furniture — sofa up stage, r. Basket of ribbons and 
flowers— basket of beads and handkerchiefs, stick and blind man's shade. 
Doll — marriage certificate — money and duster. Pistol, not loaded. Fancy 
lamp burning on the table, up stage L. 

ACT FOURTH.— Vine to cover elects on the house. Snow falling through 
the act. Two pistols, and two guns, not loaded. Knife. Whiskey flask 
and rope — bag containing bottle and dummy packages. Mattress behind 
bridge break fall. Meal, for snow, for characters. 

ACT FIFTH. — Chairs R. and c. Embroidery frame, basket of work, and 
hank of wool for Meg. Pistol, not loaded — rope. Bible — needle and thread. 



COSTUMES. 

Richard Ddmiyne. — Act!. Blue flannel shirt, open at the neck, sleeves 
rolled up ; light, wide brimmed hat ; grey tweed breeches tucked in boots ; 
miner's belt, with dipper and smelter attached; pickaxe; dark, curly wig, 
with hair falling on shoulders"; full beard and mustache ; complexion dark. 

Act 3. Smooth face; black dress with gaudily-colored overskirfc 

looped up behind ; shawl ; large bonnet, full of bright flowers ; basket of 
ribbons on arm ; red scratch wig ; face made up very red for Irish woman j. 
underneath this dress, for quick change, black trousers tucked in boots ; 
hickory shirt open at neck, sleeves rolled up ; belt with revolver at back. 

Act 4. Torn coat and vest over red flannel shirt ; tattered breeches 

tucked in old boots ; rope around waist; old muffler around neck; black 
disguise beard on wire, and, dark wig ; battered hat ; white meal to represent 

snow, scattered over person. Act 5. Mustache, complexion lighter; 

short hair; broad brin^med black hat ; white shirt; large open collar ; cuff's 
to turn over sleeves of coat ; black tie at throat , black frock coat ; black 
pantaloons tucked in boots new and clean ; watch and chain. 

Joe Wiston. — Act 2. Same as Delmayne of act first, but of diff'erent 
color. — Act 3. Old clothes basket on arm ; stick ; revolver ; red wig and 

a blind man's shade. Acr 4. A miner's outfit ; overcoat and muffler. 

Act 5. Light suit corresponding with Delmayne's of same act. 

Gaspard Leroy. — Act.1. Light suit; cutaway coat, pantaloons tucked in 
boots ; dark curly wig and mustache. — • — Act 3. Handsome dark suit very 

fashionable, pantaloons over boots. Act 3. Miner's suit to correspond 

with Delmayne's of act first; overcoat. 

Craven Leroij. — Act 1. Complexion pale and cadaverous; black wig and 

goatee ; dark suit in accord with Gaspard's. Act 3. Handsome light 

suit very fashionable. Act 4. Same as Gaspard's; pea jacket; knife in 

belt. Act 5. Same worse for wear; shirt open, sleeves rolled up. 

Carmion Gath. — White shirt, wide collar, cuffs turned over black coat ; 
black pants not in boots ; white wig and beard ^ black slouch hat, 

Costumes continued on last page. 



THE FORTY-NINERS. 



ACT I. 

SCENE FIRST, — Sunlight Canon. Davm, Mountain drop in fifth grooms. 
Bridge crossing a working waterfall, c, and, resting upon platform R. u. K. 
and L. u. E., masked in hy rocks. Return piece, l. u. e. Set cottage, mask' 
ed in by rocks, with practicable door, or platform up stage, l. Bank down 
stage R. Set rocks, R. and l. Trap door open, c. Miners below shoveling 
up dirt. Lights medium at rise of curtain, growing brighter with the day, 
and fading gradually as the storm comes up. 

The Miners discovered working at the diggings* 

Opening Chorus. 

To the west, to the west, 

To the land of the free- 
To the new El Dorado 

That crowns liberty ; 

"Where a man is a man 

If he's willing to toil, 

And the humblest may gather 

The fruits of the soil. 

Mat. Ah, gold, gold! What a power thou art, to woo us from the peace 

of home, the arms of wives, or 

Clif. Or the kisses of sweethearts, eh, comrade ? A fickle jade, is for- 
tune, but 'tis sweet to see her great golden eyes peeping up from the dark em- 
brace of the earth — sweeter than the lips we love, or the smile of Sunlight 
herself. She has no use for sluggards, and what wonder then, there are 
rich and poor here in the heart of the great Sierras, as in the glitter of the 
cities of the East. 

Mat. Eight thar, pard ! But the slow-pokes are on the way, I see them 
yonder, coming down the peaks, and with them, the strangest, boldest, anA 
best man at the diggings — Hawley Briggs. 

Music — Cheers R. u. e. The Miners cross the rocks, and come down to work, 
followed by Delmayne, disguised as Hawley Briggs, who comes down c. 

Mat. {to Delmayne) You are in time, pard, Clif was but a moment ago, 
berating the sluggard, and now 

Del. And now he puts in an appearance. 

Mat. I did not mean it so. 

Del. And yet you said it. True, I am to-day a sluggard, for memory, like an 
iron chain, has held me to my cabin, and grief, like the gaunt, shadowy 
wings of plague sweeping through the air, dims even the scarlet shafts of 
sunrise, among the peaks of the mighty Sierras. 

Clif. Yet I'll wager there is one whose face, even despair, could not 
cloud to your eyes. 'Tis she, who, like an angel froni above, flits among 
us with her kindly words, and lures even your sad lips to smiling. 



THE FORTY-NINERS. 6 

Del. You mistake ; the nuggets alone can do that. 

Clif. Just as if Mistress Gath vvasn't the biggest kind of a nugget ! 

Mat. Or jev/el. Heaven will it the setting may be wofthy of the gem. 

Clif. I rather think that Briggs, here, will be the happy man. 

Del. How like a fool you talk ! {crosses r. — sits 

Mai. Are your eyes so dimmed by the luster of the gold that you can't 
perceive who is the man? Bah, a fool could- tell you ! 

Del. Then why does he not continue ? 

Clif. One for you, mate. But since you are so much in the dark, I will 
enlighten yon. 'Tis no other than the handsome Leroy. 

Del. {quickly) Not Craven? 

Clif. Bah, no I His half brother, Gaspard, whom he accompanies to the 
mines to overlook the property of their father. The Craven is well named, 
Briggs, you will find that out when you see him. 

Del. Perhaps ; but I can wait. 

Clif. But I say, let's to work, pard, we're losing time. 

{they go up and dig 

Del. {aside) Then my heart spoke truly ! He it is she loves, not the 
rough miner, the fugitive from justice, but the man of millions, the God of 
this chaotic spot. And yet — oh, madness ! will my heart never break and 
end the story ? 

Music — Margaret Gath enters from the parsonage, and covies doion c. — All 
rise and greet her. 

Omnes. Morning, Miss, good morning 1 

Meg. Good morning to you all. You see I am up with the sunlight. 

Mat. You couldn't help it, Miss, for you are the sunlight yourself. 

Meg. Flatterer, beware ! 

Del. He but speaks the truth, Miss Margaret. The hardy miners have 
called you the sunlight of the Sierras, and you see they are right, for al- 
ready the rising sun streams more brightly through the canon, as if to vie 
.with its earthly rival. 

Meg. Thanks, a thousand thanks ! But compliments are poor fare for 
a hardy gold digger. This is my father's birthday, and in the parsonage 
lies spread a breakfast for all. 

Music — cheers. Miners all exit up rocks and into cabin except Dehnaync. 

Meg. Go, kindly hearts, and may the blessings you so often bestow upon 
me, fall like rain upon him. Yes, Gaspard, 'tis of you alone I think — you 
my lord, my husband, the father of my child, {rumble) What noise was 
that? Is it the Fulsom stage bearing him to meet me, or is it — {turns, sees 
Delviayne, starts) You here ? How you frightened me ! — I thought you 
had gone with the miners. 

Del. Oh, no, Sunlight! 

Meg. {aside) Oh, if Gaspard should return and this man see us meet! 
I must get him to leave, {aloud) Why do you sit there so downcast. Haw- 
ley? {laughs) You look as though the last friend upon earth had deserted 
you, and the hangman stalked behind. 

Del. {starting up) The hangman 1 {recovering) Where Judge Lynch 
alone holds court, that is a strange person to mention. Miss Gath. And 
yet 1 know not if it be out of place. 

Meg. {laughing) Am I then in the presence of a criminal? {music 

Del. {crosses to c.) No, no, no ! Margaret Gath, have you ever heard of 
men wrongfully accused of crime, fleeing from justice, that blinded by cir- 
cumstances gropes after them 'till life itself becomes a hell, and every rod 
of ground trembles beneath their feet — till the voice of the pursuer rings 
forth in every blast, the scaffold, the cap, looms up in every shadow, till, 
the whole world hoots after them, murderer, murderer I and God alone, 
whispers — innocent? {breaks down sobbing 



6 THE FORTY-KINERS. 

Meg. How wildly you talk. You are ill I 

Del. Ayould to heaven, I could die ! Look! look there where the shad- 
ow of that boulder falls across the gulch— look, I say ! Do you see all I 
have pictured in that shade ? 

Meg. No, no, no I Heaven forbid ! 

Bel. {sadly) Yes, you have said it— Heaven forbid ! Your path is all 
roses . mine, the dull jagged passes of the mighty Sierras. The peaks, like 
fino'ers beckon off; the sunlight mocks : the shadows madden. Good bye ! 
"^ {goes up and turns from house 

Meg. Y''ou are leaving the house? 

Dei {lowly and with intensity) I have told you all I dare. The Sunlight 
mocks me now — Good bye ! 

Gazes at her fixedly for a moment; repeats the xoords sadly and reels of r. ti. E. 

Meg. Poor Hawley ! There is something back of all this ; heaven grant 
it raay be only an Ironest heart which some woman will one day learn to 
value. 

Music G-ath e-nters from cabin, followed Iqj cheers of miners — Meg assists 

him down and kisseshim impulsively. 

Gath. There, there. Sunlight, you smoth-er me with your caresses ! 
Ah ! my child, I would be willing to have a birthday evey week to know 
how true your heart is to mine so near the brink of the Great Unseen. Yet 
what a lovely earth this is to leave ! These tall frowning cliffs havelook- 
ed down upon me for years — since the hour, when wooed from city life by 
the soft and sweet tones of Fortune, I came with you, my child, to labor 
on alike for you and for my fellow man. Here lived I, poor still, till '49, 
like a heaven-sped message swept out from the beart of the great Sierras, 
and fired the country trom pole to pole. You have been a treasure to me, 
my darling, and it cheers my fading years to see you loved by all, from 
the poor homeless, wretched woman, Kate, to whom you stretched a help- 
ing hand, to the lowest, hardest miner at the peaks. 

Mer;. And are the men enjoying the birthday breakfast, papa? 

Ga^th. Yes, Sunlight, but it is for you to entertain them, 1 have receiv- 
ed news that there is sickness at Dresmer Gulch, "and I am on my way to 
do all in my power to alleviate the sufferings of the unfortunate. The gath- 
ering mist among the peaks betoken a coming storm. Go in, my child ; 
there, kiss me again, and now — good bye. {exit h. 1 e. 

Meg. Again those words — " Good bye." They fall upon my heart like 
the avalanche adown the canon, they fill me with dread, and yet I know not 
why. {loind and distant thunder — leaves falling) ISTo, no, I'll not despair, for 
heaven never intended that the true heart should, {lights down) A cloud 
has swept before the face of the sun, the shades gather ; a storm is brewing, 
and still Gaspard comes not. {music, thunder and lightning) Oh, what wo- 
man's fear is this at my heart? V/hat if the stage should have fallen from 
the pass and been dashed into the gulch below? "What if — 

{thunder, lightning and heavy rain 

She turns to go up the rocks to cabin, l. u. e., and meets Graven L&roy face 
to face—thundtr and lightning — she recoils ivith a shriek. 

Craven Leroy. Meg ! 

Meg. Sir ! 

Cra. I beg your pardon — I^.IirsGaih! {crosses ^., down, stage) It is rain- 
ing, you should not be out i]i ihis storm in so thin a dress, leave that to 
men who have business of imporlaut. 
^ Meg. {aside) Oh, if I only dared ask him of Gaspard, but he has bidden 
me be silent, be secret. {thunder and light^iing — she recoils 

Cra. Shall I assist you up the pass ? 



I 



THE FOBTY-NINERS . 7 

Meg. (proiullj/) No, I can go a-lone ! {goes up rocks to cabin— looks off) 
Nothing I I can see nothing. The clouds lower over the mountain peaks 
it is darkness beyond, where is he, where is he I 

{e:cits into cabin. Music ceases 
Cra. Proud as Lucifer ! And she it is that now stands between me and 
the wealth I covet — for Gaspard has told me of the secret of his marriao-e. 
Madness ! to be put aside like a broken toy at the caprice of a dotino- old 
man whose love for his elder son, makes him unjust to the youno-er. °The 
last mail brought me news that my father was on the brink of tlie grave. 
Hum ! he once dead, Gaspard becomes a millionaire; he in his turn dead f 
possess all. Then shall this mountain girl and her brat stand between me 
and fortune? {noise of lolieels and cheers) Ah, Fulsom stage! Speak of 
the devil and he is bound to appear. Gaspard is here 1 {Micsic 

Enter, Gaspard h. a. e. 

Gaspard Leroy. Craven, my brother, and waiting in the rain ? You are 
more zealous than the hardy miners who have already betaken themselves 
to shelter. The stage was delayed, else had I been here before to greet my 
darling wife. 

Cra. {aside) His wife ! {aloud) Gaspard, you astonish me. Were I 
you with only one frail life between me and a fortune, it would be some- 
thing more than a pretty face that should tempt me into the noose of mat- 
rimony. 

Gasp., Shame on you, Craven. Do you think 

Cra. Yes ! Once our father dead, once you a millionaire, even the pret- 
ty face of Margaret Gath will pall upon you, besides the courtly grace and 
elegance of the women of your new sphere. Again I say, once our father 
dead 

Gasp. Silence, man j Have you no heart? It is of this I would speak. 
The early morning's mail brought me this, {gives liirn letter) Read it, I 
cannot say the words. {music 

Cra. Signed ''Jermiah Dawson." Our father's lawyer ! Then he is 

Gasp. Dead. 

Cra'. {aside) Dead! This woman and her child— again that thought ! 

{reads 

Gasp. Well ? 

Cra We are lost ! Our father must have been mad when he made such 
a will. If you die without issue, legitimate or otherwise, all descends to 
me, but should you marry within throe years after his death, all reverts to 
our cousin Frauklyn, and we are left penniless, {aside) I must remove 
that woman. 

Gasp. You know the worst now. I am here to renounce that fortune, 
and claim my wife. 

Cra. {aside) Madness ! he would destroy me also, {aloud) Gaspard, 
you are wrong. 

Gasp. Wrong ! What other course is left open to me? 

Cra. Flight and concealment. 

Gasp. You say 

Cra. Persuade this girl to go with you, command her not to speak a 
word of your marriage, and at the end of three years, Aved her. {aside) 
And if you die during that time, I'm a made man. 

Gasp. Craven, you tempt me, I tremble, I fear, and yet — I will do it! 
Your words have saved me ; I owe all to you, and I shall not forget the 
debt. (exit into cabin l. — micsic ceases 

Cra. Nor I, the interest. Fool! flutter like the moth around the can- 
dle, but it will singe your wings. Then, from your ashes, like the fabled 
Phcenix, 1 vvill arise — the gold-mine king. Ah ! someone comes, it is not 
yet time for me to depart. . {retires up stage hi 



8 THE FORTY-NINERS. 

Enter, Big Lib, l. 1 e., comes 0. 

Lib. Well, civilization's below par. What's the use of schools, preach- 
ers and the like, if a man can't have what he wants. {Graven apj^ears lis- 
tening) You see yer neighbor's horse, you want it — you can't have it, and 
if you borrow it by night, for the space of a few years, it's called thieving, 
and Judge Lynch comes down upon you like a fifty pounder. Now, that's 
what I call hard, and if I had the job of law-making, wash me in a sluice 
bucket if anybody should have to work, {sees Craven) 'Morniu' guv'ner. 

Cra. {aside) The very man I seek. An unscrupulous scoundrel who 
^vouid stop at nothing. 

Lib. 'Mornin', sir, I said. 

Cra. Good morning, Lib. {coines down) Hark ye, a word with you, my 
man. Are you afraid of blood ? 

Lib. Why, I wash in it. 

Cra. Are you afraid of — murder ? 

Lib. What do you take me for — a heathen? Nary a skeer. Pipe your 
whistle, pard, I'm your man for a little dust. 

Cra. Hark ye. {ivhispers to him) You know the girl ? 

Lib. Rather. But I say, guv'ner, the boyees don't love me too well and 
I'd string sure if they knew I had a hand in this. You'll see me through 
square now, won't you ? 

Cra. Yes. Hush ! I hear footsteps. Retire. {Lib goes r. 3 e., Craven 
L. 1 B {thunder^ lightning and rain 

Music — Kate Dehnayne drags herself across rocks, r. u. b., totters down to 
c, and falls. She is clad plainly and has an old shaiol over her head. Thun- 
der atid lightning. 

Kate. Crash, crash, mad thunders, roar on storm, there is no grave for 
me. It vvas just such a day as this that he forsook me — just such a day as 
this when iirst the durk blots of shame and infamy fell upon the pure, un- 
sullied pages of my life. Oh, God ! it is hard to live and harder still to die. 
No news of Richard, no news of John I Three weary years have crossed 
the blackness of my life, and in the dark future still I see despair and mis- 
ery, twin-sisters of my fate, pass 'fore me hand in hand. Why am I here? 
What am 1 waiting for ? I dare not give myself an answer, but my heart is 
beating till it chokes me. Who I am none guess, what I am they can see. 
The devil knov/s me if they don't, {miners laugh within cabin) They are 
there now at the birthday breakfast. Down heart, in, in to laugh, to sing, 
to drown the past, {goes up rocks to parsonage — miners laugh again) Ah I 
laugh on, 'tis for men to smile, but women, Niobe like, must weep forever- 
more, {exit Kate into cabin 

Music kept up, Enter Dehnayne R. u. e., comes doion r., sits on bank, business. 

Del. 1 cannot find repose. In every lurking shadow I hear a voice cry- 
ing : "I know you Richard Delmayne, despite your disguise !" Then it is 
I strive to free myself from it, but it is not to be. Three years ago that cry 
first rang in my ears, when in a fit of rage and shame I struck my sister's 
betrayer dead at my feet, and so I fled into the mountains. From that hour 
it has haunted me by night, maddened me by day, and Kate, my sister — 
where is she now? {sigth'i) I wonder if this lurking dread is to draw me 
back all my life from happiness and chain me to despair. It seems so, for 
scarce had the chill grown lesser by the gentle breath of love stealing into 
my heart, ere this Leroy steps in and blights it. Leroy ! humph! 1 won- 
der if he is the hard, cruel fiend, the miners who have seen his half broth- 
er, call him. {rises and goes to house) Heaven will it differently for Mar- 
garet's sake, {opens door and starts back) Gaspard Leroy and Meg together I 
Ha! they are coming this way, I must conceal myself, {exit quickly r. 1 B. 



THE FORTY-NINERS. 9 

Enter, Gaspard and Meg from cabin, down C. 

Meg. Oh, Gaspard, it is cruel to bid me fly and leave my father to 
mourn me lost, when but one word would spare him all, and that word — 

Gasp. I forbid you to speak. If you go with me, yoii have entered the 
house for the last time. See there, where the clouds gather thickly around 
Filmer's Peak — in one minute they will surround them. I will give you 
till then to choose. {Delviayne appears r. 1 e. — listening horrified 

Meg. Gaspard, be merciful 1 

Gasp. The clouds are on the peak. Speak, choose, me or desertion. 

{thunder and lightning 

Meg. You ! {falls into his arms — Dehnayne disojjpears 

Gasp. Meg, my darling, I knew it 1 {rumble of loheels) Hark, already 
the stage passes up the gulch ; you must have a hat — I will get it. 

{exit into cabin 

Meg. Stay, Gaspard ! I must enter the house again. 

Music forte — S^e runs up, tohen Big Lib springs in and throxos his coat over 
her head — she screams and faints in his arms. 

Lib. We want you, my beauty. {Craven darts in L. 1 B. 

Cra. Quick ! hurl her into the gulch ! 

{Delmayne rushes in r. 1 e., knocks him down 
Del. Not while 1 live. 

Delmayne is darting upon Craven again, when Gaspard enters quickly from 
the cabin. 

Cra. That man would steal Meg I {points to Delmayne 

Gaspard kyiocks Delmayne dovjn, and rushes off with Meg, followed by Lib. 
Craven is about to follow when Delmayne springs up clutching him, knock- 
ing off his hat. 

Del. Stay ! My God ! you living ! John Garston, the betrayer of my 
sister. Villain ! {Kate appears at door of cabin, screams 

Del. {seeing her) Kate, sister 1 
Kate. Richard, brother ! 
Del. Go, coward, I give you your life, mine is broken forever. 

TJt,rows Craven down and stands over him with upraised hands, 
QUICK CURTAI.N'. 



10 THE FOBTY-NiNEIiS. 



ACT II. 

SCENE FIRST.— InUrior of the parsonage. Kitchen in fourth grooves, 
box set. Door L.F., practicable. Gauze wi7idoio r. f., practicable. Bench 
beneath loindoio. Set -^re-place with fire burning, v.p stage. R. Set door 
L. 2 E. Dresser, with table-cloth and. dishes on it, up stage L. Table and 
chairs R. Noise of storm heard, Iv/htning seen through gauze xoindoio, 
which has mountain backing. Night. 

Kate Ddniayne discovered at loindow. Music — Thunder and lightning at 
rise of curtain. 

Kate. How the thunders rumble and crash ; how the swollen stream 
roars in its tumultuous course adown the ragged gulch. Ugh ! it is a fear- 
ful night, {closes icindow and comes doivn to table h., sits) The sinfulness, 
the shan:!e of raj life commenced in storm : I wonder if it is fated so to 
close. What mad freak of fortune drifted nie into the path of Margaret 
Gath? 'Tis three days since she found me, a houseless, miserable wretch 
and brought me here to shelter — here in the Great Sierras, where I fancied 
myself free from the dark shadows of the past ; but it is not to be, for he is 
here, he and Richard also. Oh, heaven! if the good impulse which over- 
came him this moi-ning should pass away, and they meet on the mountains 
— Ugh! the thougiib chills my very blood, {clock strikes) Nine o'clock, 
and Mr. Gath hos' not yet returned, nor Miss Meg, either. Oh, how the 
storm grows, I'll go and look for Miss Gath. 

Takes candle from table and goes up to door, it is flung open suddenly/ and 
Joe Wiston appears. Light goes out — Lights down, 

Joe. Phew ! I'm wetter'n a drownded rat. 

Kate. Oh, Joe, how you frightened mc ! 

Joe. Did I? Wall that's hearty. Whar's the parson? 

Kate. He's out. 

Joe. {goes to fire) Phew! And Sunlight? 

Kate. She's out too. Let ine light the candle, please. 

Joe. Give it to me, I was allers some at raisin' a spark, {lights it 
at fire and gives it to her. Lights up) Thar! {aside) Pight smart gal that, 
next to Sunlight, she's the pootiest piece o' caliker at the peaks, {aloud) 
Have any o' the boys shown up yet? 

Kate. No ; are they coming ? 

Joe. Yes, to present the parson with a bible. We're going to have a reg- 
'lar blow-oufc. I come up to help, so fork out your dishes; whar's the table 
rag? {business) Thar you are ; now I'll travel on a bit and wake up the 
'boja. (going 

Kate. You're not going, Joe? 

Joe. Yes, I am. You aren't afraid, are you? 

Kate. Afraid? Of what? 

Joe. Why, bein' alone. 

Kate, {aside) He little knows how long I have been so. {aloud mechan- 
ically) No. 

Joe. Oh ! {aside) Slope, young man, that means. Well, I'll travel 
along, {goes to d. in f.) It's a bad night for Sunlight and the parson to be 
out. {lightyiing) Jewhittaker 1 what a flash. I'm olf. {exit— is seen to 
pass the windoio, strikes against Craven Leroy who is coming up the cliff) Beg 
pardiu' stranger. {Craven passes on towards door) Don't like that feller. 
Wonder what he's up to. Phew! goin' in, as I live— Thar's eummat up 
and I'm goin' to larn it. {Music— opens window and blows out candle 

Lights down 



THE FORTY-NINERS. 11 

Kate. How dark it grows. The wind has blown out the candle; I will 
re-light it and fasten the window, (rises and goes up, Craven Leroy enters 
D. in p., «!^ei!.s her face to face — she recoils) Ah, John Garston, you here ! 

{comes down l. 

Cra. Hush ! not that name, now. \comes down b. 

Kate. It was false, then, like the man who bore it. 

Joe. {at loindoio) Hello I Thar's summat in the wind. 

Cra. Are we alone ? 

Kate. Quite. 

Craven Leroiy removes overcoat and hat, lays them on chair hy window, then 
comes down stage R. 

Kate. You grow familiar, sir. 

Joe. {low) Just what I war a thinkin'. 

Cra. KaLo, I have come to tell you to-night that 

Kate. Stop ! I read your thoughts at onoe. You fear the anger of my 
brother and have come to tell me that I must turn him from his path. 

Cra. Kate, you Avrong me. I love 

Kate. You love ! ha, ha, ha ! You are like the wild beast that brings to 
an end that which it loves and hates. You told me once you loved me, 
and I — God pity me — I believed you, and allowed you to win me by false, 
unholy vows, to change my pure, unsullied life for a blotted title and a 
lost existance as your mistress. 

Cra. Kate, that love is not yet dead. 

Kate, {quickly) Liar 1 it is. {Craven raises hand to strike her) "Well, 
strike, I am but a woman. Callous and cruel, has the devil who is writ- 
ing your story, driven every good angel away? 

Cra. How dare you talk thus to me? You know me, Kate Delmayne. 

Kate. Too long, and too well. Who placed the brand of infamy upon 
my brow? Who lured me from my home, 'till the innocent girl became a 
hard, worldly woman ? Who wrecked my life, who made me what I am 
to-night, an outcast, a Magdalen ? Who? Why, you, John Garston, and 
you have the impudence to enter this house and tell me I know you I 

Cra. Woman ! 

Kate, {turns on him fiercely) No, — devil ! Have you ever seen a child 
building itself a house of cards, tremble a-ii it places one card upon another, 
fearful that the foundation is too weak and the whole structure will fall in 
a mass of ruins ? ]\Iy life is a house of cards ; and one by one you have built 
them up until the foundation totters and will bear no more. You and I are 
done forever, John Garston ; there is the door— Go ! 

Joe Wiston S'prings in througli ivindow and comes down C. 

Joe. Hold on a minute, Miss Kate; just let me kick him out. 

Cra. Who are you, fellow ? 

Joe. I'm a man — what are you? Just saj"^ the word. Miss Kate, and I'll 
knock him flatter'n one of old Huldy Sparkins' flap-jacks. 

Kate. No, no, Joe. Do not strike him; he is beneath .you. 

Cra. And how high above him are you? Tell him what he does. Tell 
him that he protects a fallen creature whom even the miners at the peaks 
would scorn to own. Tell him 

Joe. She needn't say a darned v/ord. I was there at the window and 
heard it all. 

Cra. Then you know whom jon j)rotect ? 

Joe. Yes ; I protect a woman against a darned scoundrel named Craven 
Leroy. Look here : you just said even the lowest miner at the peaka 
would scorn to own her, didn't you ? Well, you're a liar ! 

Cra. Scoundrel I 

Joe. Oh, it ain't perlite to mention your own name fust. What do you 
want here, anyhow ? — Git out ! 



12 TEE FORTY-NmERS. 

Cra. "What do you mean, fellow? 

Joe. {get's hat and coat and handa to Craven) You've wora out your wel- 
come — git ! Oh, you needn't stop to put on your coat, 'cause we're in a 
hurry to scrub up the floor, ri,2;ht whar you stand. {Graven goes up stage 

Cra. {at the door) Good night, Miss Delmayae; as for this fellow,! 
shall not forget him. {exit d. in p. 

Joe. {calls after him) Saay, leave us a lock of your hair for remem- 
brance. Oh, Miss Kate, why didn't you let me have a 'paste' at him ? 

Kate. You have been very kind to me, Joe. 

Joe. Git out— hev I?— Shake, {takes her han'.) Kingdom come, I feel 
the shivers a goin' clar through me. Why, what a hand— it ain't bigger'n 
a minute. 

Kate. I am proud to take your hand, Joe, for you are a man. 

Joe. {laughs) Git out ! Ila, ha, ha! She calls that a hand. Why, it 
looks like a salt cod alongside o' hern. 

Mat. {luithoid) Joe, oh, Joe ! Give us a light. 

{business of Ending candle and lighting it — Lights up 

Joe. Hello! thar's the boys, {holds candle up to loindoio) Thar, the 
pass is as light as day. Up yer c(mies. 

Music — Cheers graduallj/ coming nearer. The miners are seen to pass win- 
dovj and enter door l. f. loith bags and bundlen. 

Mat. {ivith book) Dump the grub on the board, boyees. Here's the bi- 
ble, Joe. I say, whar's the parson ? 

Kate. He's out. 

Mat. Out? 

Kate. Yes ; left this morning for Dresmer's Gulch, and has not since re- 
turned. 

Mat. Phew! And Sunlight? 

Kate. She's out too. 

Mat. What! out in the mountains in a storm like this? Is the gal 
mad? Gone Avith the parson, perhaps. 

Kate. No ; she left an hour after he did and has not since returned. _ ' 

Mat. Well, here's a 'go.' But I say, boys, we came to have a surprise 
party, and I vote we have it now. 

Omnes. So do I ! So do 1 1 

Mat. All right then, fire ahead. {they\hit at table and eat ravenously 

Joe. {n. corner) Well, thar's hogs for yer. Hyre, I say, boyees, play 
light on that grub, I'm hungry, {sits and eats with others, Joe at keadof table 

Mat. Give me three more biscuits. 

Joe. Peters, equalize them beef. 

Peters. I'm no hog — thar ! 

Throws hand-full of meat on his plate, they cat noisily xohen Joe suddenly 
stops and holds icp Ms hand. 

Joe. Oh, fellers ! {all stop) A thought— I say, whar's the whiskey ? 
Omnes. The whiskey, the whiskey ! ) Tnnpihp-r 
Mat. Whar's the jig water! J J.ogeuier. 

Peters. By the Etarnal ! That almond eyed heathen, Wun Lung has it 
and— jumpin' bullfrogs and boot-jacks, look thar I 

Peters points to tvindow, all turn; lightning, Wun Lung with a demijohn is 
seen at vjindow. He is very drunk and has an old plug hat on his head — 
They spring up with a yell, and pull him through door and drag him 0. 

Joe. Whar's that whiskey ? ] 

Hat. Ante up with the juice. V Together. 

Omnes. Whar is it, whar is it? j 

Joe. Do ye hyar ? Whar's the whiskey ? 



THE FORTY-NINERS. 13 

Wun Lung, {smites, rubs stomach) Alle gonee. 
Omnes. What I One— two — three ! 

They seize him, rapidly run him up stage and bounce him Out of the window. 
Orash. All come doion B. 

Joe. Dnrn his cheek, not another drop of whiskey to be had short of 
Trnckee. Saay, boyees, what air we goin' to do ? 

Kate. Drink water, {all grab chairs and rush at her, insulted at the word 

Joe. {interposes) Hold on, boy ess, she's a woman, but Miss Kate don't 
insult us again. 

Kate. But there's nothing else, and you (can't eat without something to 
drink, after. Come now, try it. Here, I'll fill the cups and you shall try 
and empty them, {they look at each other and laugh, then take cups and go R. 

Joe. (holding up cup) Boyees, a toast. 

Omnes. Aye, aye, a toast. 

Joe. Here goes. Here's thet we may never be forced to make the ac- 
quaintance of a stronger ag'in. 

All. Hurrah ! 

They drink — loud shout, each man clasps his stomach, squirts out the water 
and prances around as though in a spasm. 

Omnes. Oh, oh, oh ! 

Kate, {alarmed) Good heaven, men, what is the matter I 
Omnes. Oh, oh, oh ! 

Kate. Joe, speak to me. What have I done? 

Joe. Dun 1 Why, gal, you've ruined the hull gang of us. Pizened the 
bardiest set of workers in the hull Sierra chain, and — and— 

Enter, Gath d. f., comes down r. 

Omnes. The parson. Whoop! 

{they rush back to table— >Mat gets bible, they urge him on 

Mat. {advancing) Well, you see, parson, we have — that is, well — {looks 
back in despair — they urge him on) This night we — well,'we — er — er — {gives 
book to Peters) Can't git it, pard. 

Peters, {advances) Well, you see, parson- 
Joe. He said that ! 

Peters. Well, the lact is, we want to — to— 

Joe. Good, good ! Go on ! 

Peters. Well we want to — to — to — 

Joe. That's it, that's it. 

Peters. Well— er — er— {pompously) Sir, you see before you a party who 
are — wbo are — I say fellers, what are we? 

Joe. Hyar, give it to me I {takes book, advances proudly) Feller citi- 
zens! {all lau^h) On this most suspicious— (a// laugh— he rushes to table, 
Mat whispers in his ear ; he sjniles) Oh, yes. {advaiices) On this most au- 
spicious occasion, we want to — to — well, we want to — Well, we want to give 
you this book — See? 'cos as how you was once a miner yourself, and now 
you've panned the dust and are a parson, you aren't none of your stuck-up 
sort, {struts back) That's about the proper thing, 

Gath. I suppose I ought to make a long speech, lads, but it's not my 
way. I thank you for your gift and rest assured I shall always remember 
those who so kindly remembered me. 

Joe. Now then, boyees. Hip, hip — 

Omnes. Hooray ! 

Joe. Another. 

Omnes. Hooray I 

Joe. Another ! 

Omnes. Hooray I 



11 



THE FORTY-NIKERS. 



Joe. Tiger— r—r— ^ . , 

Gath. There, return to your meal, lads, for I know you must be hun- 
gry, {they go back to table) But where is Meg, Kate ? {Music 

Kate- She is out, sir. , . _. 

Gath. Out! Out in the mountains such a night as this! You are 
dreaming. AVhen did she go ? , , . - 

Kate. She left about an hour after you did, sir, and has not since re- 
turned. 

Gath. Ah, what fear is this at ray heart? She may have fallen down 
the ravine and been dashed to pieces. Quick; girl, bring me the lantern, I 
will go and seek her. {exit Kateh. 1 E. 

Joe. Hold on, parson, I'm with yer. 

Oinnes. And 1, and I ! {cdl gather around him 

Enter, Kate with lantern, l. 1 e. 

Kate. Here is the lantern, sir. {Joe snatches it— Lightning 

Gath. Quick then, there is no time to lose. Come come ! 

Tkey all rush up token the door is flung open and Cliff appears, one hand be- 
hind his back, jpick-axe over shoulder — they recoil. 

Gath. CliiT, pale and trembling. Speak man, what has happened? 

Clif. Parson, whcre's Sunlight? 

Gath. We are seeking her. Go on. 

Clif. I was walking down by the falls near the stage pass, and on the 
very edge I found— this. {".hows Meg's hat 

Gath, My daughter's hat ! 

Omnes. Meg's ! 

Clif. The ground was torn up as though from a struggle, and bore the 
print of men's feet. 

Gath. Mercy for my child, heaven, mercy I To arms, lads, we'll find 
the body and track the assassins. Come, come. 

They are rushing up stage when Delmayne suddenly appears in the loindoio 
c. — Thunder and lightni'ng. 

Del. Stay! 

Gath. Briggs! Why do you stay us now? Wo are seeking for Meg, 
my daughter, she is 

Del. {coining down 0.) Lost to you forever; she has flown with Gaspard 
Leroy, she is dishonored. 

Delmayne comes doion c. Craven Leroy passes window, enters door and 
comes down behind miners, R., to extreme corner. 

Gath. Powers of mercy, IMeg, Meg. 

Del. Oh, sir, think not that I stood calmly by and saw it all. I would 
have died for her sake, but the villain felled me to the earth, and 

Cra. It is false. 

Omnes. False ! 

Del. {horrified) John Garston — you! 

Cra. Your daughter has been abducted, Mr. Gath, by the brother of 
that woman, the man who stands before you. Richard Delmayne, whom 
you know as Hawley Briggs, planned and carried it out himself, so haug 
him. 

Omnes. Hang him, hang him. {they rush upon Delmayne 

Joe. {grasps a chair and spri7igs between them) Stand back, all of you. 
I'm not goin' to see a pard o' mine strung up in that manner, while I've 
got strength enough to face the music. I tell you our pard has spoken the 
truth, and that man thar — Craven Leroy — is a liar. 



THE FORTY-NINERS. 15 

Del. {grasps his hand) God bless you, lad, I may be years in accom- 
plishing the task I have now set myself, but I will hunt for Margaret Gatfa, 
and I will find her, even though she be hidden at the world's end. 

Joe. (to Craven.) What do you say to that, my bloomer? 

Cra. That tlic man is a liar, and as I hope for mercy hereafter I have 
spoken the truth. Ilang him I 

Otnncs. Hang him, hang him. 

They all rush forward a'jain, Joe once more lifts chair — Debnayne seizes 
Craven by ike throat and flings him doion L. c. 

Del. Liar in your teeth, and thus I wrest the secret from your black 
heart. 

Delmai/ne snatches pickaxe from Cliff ayid is aboxd to strike Craven, when 
Gath catches it and stays him — Kate with hands extended in horror^ is 
in corner l. Music. Tnunder and lightning. 

QUICK CURTAIN. 



THERE IS SUPPOSED TO BE A LAPSE OP THREE YEARS BETWEEN THE SECOND 

TUIRD ACTS. 



ACT III. 

SOE .YE FIRST.— The parlor at Leroy Dale. Fancy chamber in fourth 
grooves. Large bay loindow c, practicable, backed by garden drop in fifth 
grooves. Box set. Set dooi's r. 2 e., and l. 2 e. Carpet, elegant furni- 
ture. Sofa u., easy chairs h., curtain and lambrequin at window. Fan- 
cy table R., loith bronze laynx> burning upon it. Night calcium behind win- 
dow c, which is gauze, and bolts from toithin. Night. 

Lively music at rise of curtain. Molly Malone dusting. 

Molly Malone. Wurra, wurra there seems to be no rest for the poor. 
Here it is after tin o'clock at night un me wid the dusther in me hand yet. 
Faix, I might have known it whin I left Ne'Yark to come out to this divel 
desarted Calil'orny, all fur the sake of bcin' near me own swate Moike, him 
as id out on thim big hills beyant, diggin' fur goold. Faith, he said he'd 
Boon have me kivered wid jewels, an' have an illegant jauntin' car fur ma 
to ride in, but he's been diggin' fur these three yeai's an' divil a bit jnore 
does he make than 'ud kape himself. Wan day, though, he'll take out a 
big nugget an' make me a leddy — just loike missus, (barrin' the brogue.) 
Ah, buL she's the swate crathure' fur ye, an' that husband av hers — Wurra, 
but he's tlie divil himself, an' what wid the drinkin' he does an' the 
noigLts he he's stayin' out wid that brother av his, an' feller they calls Lib, 
he's driviu' the swate sowl inty her grave, so he is. An' she, poor darlint, 
she does nothin' but chry an' -ax fur her ould father — whereiver he is. I 
heard thim lalkin' about it wan noight an' I do belave he'd a struck her if 
it hadn't -been fur Miss Jessie. Arrah, but there's the spunky little gos- 
soon fur ye. She has the swate face av her mother, and the pluck av 
three men loike her father, if she is only seven years ould. 



16 THE FORTY-NINERS. 

Jessie, -{without r.) How dare you take away my doll ! 
MoL There she is now j havin' her own way as usual. 

Enter, Jessie door r. 

Jes, You shan't take away my doll, I hate you, and I don't care if you 
are as big as my papa. 

Mol. What's the matter now, dearie? 

Jes. Uncle Craven wants to take away my doll, and send me to bed. 

Mol. Sure ye should mind your uncle, darlint. 

Jes. "What, when 1 don't like him? no I won't. I tell you what, Molly, 
he's worse than Blue Beard, and 1 hate him. He makes my mmama and 
papa quarrel, and I know he don't like either of them. 

Mol. Sure, ye shouldn't talk loike that, darlint, yer only a child. 

Jes. I don't care. Papa told me something yesterday. 

MoL An' what was it? 

Jes. Children and fools spead the truth. 

Mol. Arrah, but it's the wise little head ye have on thim two purty lit- 
tle shoulders, an', be the sowl av me, 1 think you're right. 

Meg. {without l.) Jessie, dear, it's bed time. 

Mol. There's yer mother callin' ye, run along now loike a little dear. 

{Jessie crosses to door 

Jes. {at door) I'm going; but Molly, if my Uncle Craven comes in 
here, you just slap his face. He makes my mamma unhappy, and if I was a 
man as big as my papa, I'd throw him out the window — that's what I 
would do. {exit l , slamming door 

Mol. Faix, I'm sure ye would. An b}*- the piper av Killarney, ye'd 
sarve the divil right. ( Wan Lung appears at window c.) Blue Beard was 
it she called him ? Faix, but he's wuss nor a dozen av him. 
Wun L. Hello, Ilish ! 

Mol. Eh ? {turns) Would ye look at that now, the bauld headed baste 
av Mr. Craven's. What are ye doin' there now ? Go on wid ye or I'll be 
afther hittin' ye over the head wid me daster. 

Wuri L. Me alle samee Melica man — dam hungry. 

Mol. Well, the kitchen's the place fur the loikes av ye. Be off now. 

Wun Lung enters through windoio — comes down, c. 

Wun L. Ilish gal a too muchee gab — Ilish gal shutee up. 

Mol. What! tShut up is it? An' to a leddy loike me ? Do ye] know 
what I have a mind to do wid ye ? I have a mind to chuck yer out av the 
windy, so I have, ye bauld headed John Chinaman yer? 

Wun L. No, no, you no callee me John — callee me Char — lee. 

Mol. Well, a healthy lookin' Ctiarley you are. Where's that washin' ye 
took away two weeks ago? 

Wun L. Me blingee to-m.ol. Fifteen piece, two shirtee, four col — 

Mol. Four what? 

Wun L. Four col — lound neckee— col. 

Mol. Arrah, collars, ye baste — col, Ugh ! 

Wun L. Eight haukcher. 

Mol. Eight what-cher ? 

Wun L. Ankcher — chew. Allee samee blowee nose. 

MoL Handkerchief you mane^ yer blackguard, 

Wun L. Chiff. Ankcher, allee samee. Two pair dlaw. 

MoL Gloves, is it? Faix, an' we give no gloves out in the wash. 

Wun L. No glove — dlaw. Savvy ? 

Mol. Faix, I don't 'savvy.' Two pair of dlaw ; what the divil do yer 
call thim? 

Wu7i L. Dlaw — dlaw. Allee samee pullee up. 

Mol. {screams) Oh, ye baste, don't ye know what thim are? Thim are 
underclothes. 



I 



THE FORTY-NINERS. 17 

Wun L. Dlaw — underdo* allee samee. 

Mol. How much will they be ? 

Wicn L. Sleven five cen'. 

MoL Sleven-five cen'. Ye baste, why don't ye spake the English lan- 
guage as I do, an' say, sivinty foive cinLs. 

Wun L. Sliviu floi cin' allee samee. 

Mol. When'll you bring 'em home ? 

Wun L. Fly'atloo o'clock. 

Mol. You're goin' to fly at two o'clock, is it? 

Wun L. No, no. Savy, Mon, Wen, Sat, Flya tloo 'clock. 

MoL Oh, Friday at two o'clock, eh ? 

Wuyi L. Yah, yah. 

Mol. All right. Now thin be off wid ye fur I want to lock up the 
house. 

Wun L. Charley belly hungly. 

Mol. Didn't I tell ye to go to the kitchin ? Go on now, or I'll pitch ye 
out av the windy. 

Wun L. Ilish gal no pitchee Charlee; Charlee lovee. 

MoL Be the powers he's not all haythen, the durthy ,Chinnay, there's a 
bit av f» man about him afther all. Sure, an* who is it ye lovee? 

Wun L. Me lovee like blaze ; plutty flace, led headee, me lovee Ilish 
gal. 

Mol. What? 

She grabs him by the mck and pantaloons, runs him up stage and flings him 
out of bay window — He falls, springs up and puts finger to nose. 

Wun L. Ilish, Ilish. Finnigan, Finnigan ! {rushes of'h. 

Mol. Och, och, bring me some wather or I'll faint entoirly. (falls into a 
chair) Oh, Moike, Moike, why war'n ye here to protect me? Wurra, wur- 
ra, what did I iver come to Californy for? 

Music — Delmaiyne disguised as Mary Ann C Flam appears at loindow c. 
Basket of ribbons on arm. 

Del. Faith will ye buy some ribbins, purty miss ? 

Mol. Eh? Och, it's only a peddler. Wha^ are ye doin' sellin' ribbons 
at this hour of the night. Be off wid ye now. 

Del. Sure, darllnt, they're illigant, an' jist as chape as dirt. 

Mol. I tell ye I don't want ony now, go on. 

Del. Sure, ye haven't seen thim. Look at this? A purty little cap, 
jist fit fur that lovely head. {shows cap 

Mol. Oh, but it's a beauty. Wha.t do you ask fur it 1 

Del. Only one 'bit,' me darlint, look at it now. 

Mol. A bit it is. Come in, come in, but be aisy, fur I'd lose me place if 
the mistress found ye here. 

Delmayne enters, and comes down c, 

Del. Sure I'll make no more noise than a mouse. Och, but you're the 
purty soight wid that on yer head. Wan bit only, darlint, dirt cheap. 

Joe Wision. {without) Handkerchieves, bades! 

{He appears at loindow, basket, stick, etc., disguised as a blind man 

MoL What, another av thim? 

Del. Sure, ma'am, that do be me brother Peter. He's stone blind, 
ma'am' but he has a lovely stock. Come in, Peter. 

Enter, Joe at window, Delmayne assists him down R. 

Mol. Be quiet now. 

Joe. Thank ye, misi. Och but I know you're a purty lass be the sound 



18 THE FOETY-NINERS. 

av your voice. Euy some beads and help a blind man who can't see out 
av his eyes. 

Mol. Poor 90\vl ! an' are ye blind, now. _ 

Joe. Yes, ma'am, I can't hear a word. 

MoL Sure, I'm sorry fur ye. I'd buy something from ye, but, (gives 
coin to Delviai/ne) I've jist paid yer sister the last bit av money I have 
down stairs. 

'^^- \ ( Together.) Sure, we'll wait till ye go up and git more. 

Mol' Arrah, but I darsn't risk it, I know yer honest, but the master 
might hear av it. 

Del. Faith, we won't stir a peg. Look here, me jewel, here's a string 
av hades an' a roll av ribbon all fur a bit. Sure, ye'll help us, darlint, 
we're very poor. 

Mol. Oh, but they're chape, (aside) I may niver git the chance ag'in. 
Faix, I'll risk it. (aloud) Wait here now an' I'll git the money, and 
mind ye, not a step must ye stir. 

Del. Divil a step, darlint. 

(exit, Molly l. 1 e., pause, both men drop basket and grasp hands c. 

Del. Joe ! 

Joe. Briggs ! (chord) Heavens, man, where have you been keeping 
yourself these three years ? What have you been doing ? 

Del. Keeping ray vow and hunting for Margaret Gath. I heard that 
you were in touni and wrote you a letter to meet me here in your present 
disguise. Joe, old boy, do you know where we stand? 

Joe. (surprised) l^o, where ? 

Del. Under the same roof with the woman I seek. 

Joe. (astounded) Meg ! 

Del. Is here, living with Gaspard Leroy, and her child. 

Joe. Her child ! 

Del. (sadly) Yes born four years before she fled with him. 

Joe. Oh, the villain. 

Del. Aye, villain indeed, and I loved her so. 

Joe. But what are you going to do? 

Del Save her. She is unhappy with this man — he 111 uses her. I love 
her, and stained as she is, I'll take her away from this place as an honora- 
ble woman — my wife. Ah, what noise was that? Quick, watch your op- 
portunity and get back into the house when I give the signal. Here's the 
Irish girl returning, (they get baskets and stand c, as she left tkem, Del- 
mayne whispers to Joe and drops ribbon on floor) 

Enter, Molly l. 1 e. 

Mol. There they are now, as meek as two lambs, (advances) Here yo 
are. Here's yer money, and now, good night. 

(Music — they go up c, — Delmayne opens window — Molly sees Joe pass out 

Del. Good night, darlint and — Och hone, there's one av me purty rib- 
bons on the floor, would ye plaze pick it up, me back is weak wid the 
rheumatics. 

Molly goes to pick up ribbon, Joe darts back in, and hides behind sofa E. 
Molly returns. Fanny business ab lib between Delmayne and Molly. 

Del. Thank you darlint. Och, but it's the sharp gurl ye are. Faith ye 
use yer eyes well, me jewel. Good night to ye, ma'am. Come along Peter. 
Handkerchiefs, bades ! (exit 

Voices heard to die away in the distance. Quick change for Delmayne, back 
to miner, smooth face. 

Mol. There she goes, poor ould craythur, now I'll put out the light 
lock up the house and go to bed. (puts out light — Lights down — Calcium 



THE FORTY-NINERS. 19 

sirongih^ough gp,u3e window — MoUy locks it.) "Wurra, but it's a be&utiful 
nlffW $6 Itis, now reissue will come here and sit in the moonlight and cbry 
out hfiX beautiful eyes, so she will, poor sowl. An' that baste av a husband 



Moike, he'll be home at nine o'clock every night or I'll know the rayson 
why. * {exit l. 1 e. 

Change of music — Joe comes from behind sofa, goes to window, whistles ; the 
signal is ansivered and Delviayne re-appears dressed as a miner, face 
smooth. 

Del. Is the girl gone? 

Joe. Yes, and the house as quiet as the grave. 

Del. All right, let me in. (Joe unbolts loindow 

Enter, Delmayne through windoio. 

Joe. Now what's the next move? 

Del. Why, find Meg, and— Hist ! shelter, I hear footsteps. Hide your- 
self. {Joe behind table h., Delmayne behind sofa r. — Change of music 

Enter, Margaret door l., richly dressed but very pale, goes to xoindow c. 

Meg. What a lovely night it is. The pale, mellow light of the moon 
streams down through the interlaced boughs of the oak and lays like bars 
of silver across the path. Still Gaspard comes not. Alas, for the many 
days gone before ; a shadow has flitted past and dimmed the_ young morn- 
ing of my joy. Oh, the utter loneliness of the place; were it not for my 
child, I should go mad. What have I done that I should be thus forsaken 
— tossed aside like a blotted leaf whose story long since has ended. Father, 
home, friends, all, I gave up for him, till my breaking heart bursts forth in 
the appeal — Gaspard, come back to me, oh, come back ! 

{sinks on her knees extending her arms in the moonlight. Joe and Del. rise 

Del. {touching her) Meg! 

Joe. {ditto) Sunlight! 

Meg. {rises) Ah, men here at this hour of the night. Back, back I or 
I call for help. Who are you ! 

Del. {draws nearer) Look, now ! 

Meg. Hawley Briggs i and he — {Joe draws near) Joe Wiston. Speak, 
Hawley — my father, is he living ? 

Del. I haven't seen him — since the day you fled. 

Joe. {coldly) Oh, he's liviug yet. 

Meg. Thank heaven for that. But why are you here? What do you 
come for? 

Del. Why, to save you, Meg. 

Meg. Save me ? 

Joe. Yes, and take you home. 

Meg. I cannot go. My place is here. 

Del. {horrified) Here, here ? with Gaspard Leroy, your betrayer ? 

Meg. No ! With Gaspard Leroy, my husband. My lips were sealed for 
three year, but uow the time is past, and let this attest my truth, {shows 
marriage certi^caie) He made me his wife in the sight of God; now I 
prove it in the sight of man. 

Del. {brokenly/) Oh, my heart is broken. 

Gasp, {ivithout— sings) "Rolling home in the morning, boys." 

Del. {starts) Ha! What's that? 

Meq. 'Tis my husband's voice— should he see you here, his jealous rage 
would know no bounds. Hide yourselves ! {Joe darts into Meg's chamber i..] 
No, no, not there — Too late, too late ! 

* If Molly sings, a song may be introduced to give Delmayne time to change. 



20 THE FOETY-NINERS. 

She hides in curtains of tvindow c, Delmai/ne behind sofa E.. Gaspard 
comes to window and knocks. 

Gasp. Hello ! The window is locked. Never mind, I see a light in 
Craven's room ; I'll get him to let me in the side door. 

{sings, "Boiling home etc.,^^ disappears. Delmai/ne springs up to fly 

Meg. {quickly) Do not attempt to leave the house now, you would be 
seen. Conceal yourself, he is coming ! 

Delmayne goes back behind sofa — Margaret sits on it shielding him, takes up 
book and reads. 

Enter, Craven and Gaspard, door R. 

Gasp, {as he enters) Nonsense, man. 

Cra. {ditto) I tell you I heard voices here. 

Gasp. Pshaw, you are foolish. Hello, my dear, not in bed yet? Such 
a ridiculous idea of Craven's. He vows he heard voices here. 

Meg. {aside) I am lost 1 

Cra. No, I swear it, and male ones at that. Your wife is not alone. 

Meg. {crosses to door l.) You are mistaken, sir. Good night. 

Cra. {crosses before Gaspard to c.) One moment, madam. Are you 
alone ? Answer me, and your husband will believe you — will you not, 
Gaspard? 

Gasp. Yes. 

3feg. Sir, I spare you the scorn you merit. I see your drift, but my 
husband has not sunk so low as to allow you to address me thus. 

Cra. This is no answer, madam. 

Meg. Gaspaid? 

Gasp. The easiest way is the best, my dear. Tell him he is mistaken. 

Cra. If she can. 

Meg. Your head is flushed with wine, sir. Good night, 

Cra. Speak, madam — has there not been a man here? Ha ! you are in 
haste to enter your chamber — perhaps he is concealed there. 

Meg. Sir ! 

Ora. At all events I will see. {Music — he advances) 

Meg. {at door) No, no, no ! You must not enter this room. 

Cra. {to Gaspard) You see ! {to Meg) Let me in. 

Meg. {to Gaspard) No, no, no ! Bid him begone, Gaspard. 

Gasp. No, your actions betray you. Let him enter. 

Meg. No, no ! ( Craven seizes her) You shall not ! 

Cra. Let me pass. 

Meg. No, no ! {he flings her aside) Fly, Joe, fly ! 

{Joe enters quickly rushes across stage and off e. door 
r^r* I ^Together.) A man ! 

Meg. {rushes to him) Oh, Gaspard, it is all a mistake, it is 

Gasp. Our separation ! 

Meg. No, no ! Oh, Gaspard, hear me ! 

Gasp. Not one word. Craven — the child ! 

Craven rushes into room, l. — Jessie shrieks and is carried on in her night- 
dress — Gaspard grabs her. 

Jessie. J y^<^9^^'^^^') Mamma, mamma ! 
Meg. Gaspard, Gaspard, listen to me. 
Gasp, Never 1 

Enter, Joe quickly door b; 

Joe. Then hear me ! 



THE FORTY-NINERS. 21 

■Joe seizes Graven and flings him r., he falls, as he springs up Dehnayne leaps 
upon sofa and levels pistol at his head. 

Del. You stand back 1 

Meg faints — Joe darts toward Gaspard who levels pistol and holds 

Lights up 



him back. 



QUICK CURTAIN. 

FIRST PICTURE.— Craven in r. corner, Delmayne on sofa with pistol 
leveled at Craven's head — Joe l. corner — Gaspard up stage c. with Jessie 
in his arms, and pistol extended at Joe, Meg at his feet senseless — Calcium 
strong through window. 

SECOND PICTURE.— Craven on knee, DelniTi/ne clutches hi^ throat, and 
leveling pistol — Joe on his knees c, holding Meg's head — Gaspard pass- 
ing out of the toindow with Jessie in his arms, her arms extended towards 
her mother — Calcium. 



ACT IV. 

SCENE FIRST— Dead Man's Gulch in the heart of the Sierras, full extent 
of stage. Snowy mountain drop backing. Set snowy rocks masking in 
flat forms r. u. e. and l. u. e., high. Ruined bridge spans the gap between 
them, down lohich the frozen waterfall hangs, the icicles pendant and the 
water falling behind them, carrying down great masses of ice at stated pe- 
riods. High platform with return piece l. 2 e., masked in by snowy rocks 
upon which stands a two story hut, the interior of upper half seen. ' Win- 
doiv facing audience leads into this room. Door practicable below. Set 
rocks at all the wings. Midnight. Snow falling thick and fast. Calci- 
um behind bridge falls full upon the waterfall, bringing out a light back 
ground. Cleets up side of hou^e to window, covered by a vine. Lights 
low. Solemn and impressive music. Noise of waterfall faintly heard. 
Raise curtain slowly. 

Craven Leroy standing on edge of gulch high, leaning on gun and looking 
ofK. u. E. 

Craven, {disguised as a miner) What a heaven-deserted spot is this 1 
The tall gloomy peaks fill me with strange emotions, and my heart al- 
most fails me as I look down these broken chasms. Yet in the past when 
purity alone reigned here {touches heart) there was a grandeur, a sub- 
limity about this spot now eternally lost in the mad passion for gain. 
Pshaw ! I am a child. Thus far up the ladder, shall I wiih my own hands 
dash it from beneath me? Now when all is my brother's and his will 
made in my favor ? No ! Reign still, thoughts of evil and of hate, Gaspard 
Leroy must be removed. 'Tis nigh upon the hour of his return from 
Truokee, whither he has gone to procure food and cover up all traces of our 
flight with the child. 

Jessie, {in hut) Papa ! 

Cra. 'Tis Jessie I Shall I strike now while we are alone or — No, Gaa- 
patd ml^ht suspect, and to open his eyes now, is to ruin all. {comes down) 
I can wait. 



22 THE FORTY-FINEKS. 

Enter, Jessie from hut, runs to him. 

Jes. Papa! (starts) Oh, ifs you is it ? Where's my papa? 

Gra. He will return soon. 

Jes. I'm tired of living here in this old hut with Big Lib. Besideo, I 
want some pretty dresses. I hate these old rags and I won't wear them — 
[tears shawl off and throws it down gulch) There ! You may tell my papa 
what I have said, when he returns. I don't want to stay here, and I won't. 

{exit into hut slamming door 

Cra. Well, curse you for an obstinate little brute. The wilfulness of 
your father, and courage of your low-born mother are plainly written upon 
that young brow, but it is against that wilfulness and that indomitable 
courage I have pitted myself, and I'll conquer both or die in the struggle. 
{whistle heard R. u. E.) Ha, the signal. 'Tis Gaspard returning from 
Truckee. 

Music — Big Lib enters from hut l. 

Lib. Thar's the signal, guv'ner. 

Enter, Gas^oard r. u. y.., followed by Wun Lung, who has a bag of provision. 
Gaspard carries gun and is disguised as a miner. Crosses bridge and 
comes down h. to c. 

Gasp. Craven, my brother, you have well kept the watch. Where is 
Jessie ? 

Cra. She is in the hut. Have you brought the provision ? 

Gasp. Yes, Wun Lung has them. Unload China. 

Wun L. Allee lilee, me do. {takes bundles from bag) Clackers. {Lib 
takes them) Loafee bled, meatee, cheesee, Ian, Ian — {takes out flask, smiles) 
Glog, Charlee likes glog — Charlee gletee dam drunk, {goes to drink, Big Lib 
kicks him, he screa^ns) Oh I Hello, dammee. 

{exit quickly into hut followed by Big Lib 

Music — Gaspard goes up to peak, looks of both sides — Craven leans his gun 
by the door. Gaspard comes down and lays hand on Craven's shoulder, 
is deeply agitated^ 

Gasp, {loio) Has any one been here ? 

Cra. No 5 why do you ask ? 

Gasp. As I passed the forks of Eloranda one mile down the cut, a figure 
dashed hurriedly across the path and disapeared in the brushwood beyond. 
I halted for a moment, then my ear caught the rumble of wheels, I turned 
in time to see a wagon roll across the flats, driven by the man I had seen. 
Craven, we must leave this spot to-morrow night. That man was Hawley 
Briggs. 

Cra. {aside) Delmayne here ! (aloud) You are sure of that ? 

Gasp. It is impossible for me to be mistaken. 

Cra. You anticipate danger then, from his presence here? 

Gasp. What should make me think otherwise? That man defended 
Meg, he attempted to stay my flight with Jessie. What now more prob- 
able than that his presence here betrays a plot to rob me of my child. 

C7-a. And in that case — 

Gasp. In that case I will fight to the last gasp. I will take the watch 
to-night myself, and before he shall wrest Jessie from me, with my own 
hands I will hurl her down yuuiier gulch, (drags Graven up and points 
down gulch) Look, do you see those rocks that look like pebbles in the 
path ? It is four hundred feet slieer fall to those. Do you think a humaii 
being once dashed from the edge of this ravine would ever again prove an 
object of dispute ? 



THE FOETY-NINEES. 23 

Cra. Never? Come away, the sight chills my very blood, {comes 
down) One false step — only one — and you are food for beasts and birds, 
(aside) ITis Avords have cast a new light across my path ; shall he by 
chance take that false step? 

[Gaspard has come down and partially overhears 

Gasp. You were remarking — 

Cra. Oh, nothing. Merely commenting upon the scenery, that was all. 

{exit CYaven into hut 

Gasp, {transfixed) Am I dreaming? I fancied I heard — pshaw, these 
threatening dangers fill me with cruel misgivings; Craven is devotion itself 
to my interests. A single suspicion in his direction is more than unkind. 
[puts gun beside Cr aven\s and goes up) What a tiresome night it is. I feel 
strangely wakeful when all around me reigns that peace and quietude 
which alone should induce slumber. I wonder what that fellow was lurk- 
ing around here for? It cannot be that my suspicions are unfounded and 
Margaret seeks not to regain our child. I wonder where she is to-night? 
Three years ago I would scarcely have dreamed of this bitter sequel to my 
tale of bliss. Three years ago! Ah, how apt man is to build himself cas- 
tles the rougher hands of the world must ever delight in tearing down. 

Jessie enters from hut, runs to him. 

Jes. Oh, there you are. Where is mamma? You promised to bring her 
with you. Have you kept your word? 

Gasp. Not yet my child. {attempts to kiss her, she stops him 

Jes. No! You told me once that lying lips were unfit to kiss, and if it 
is wrong in ^a child, it is worse in one of older years. 

Gasp, {winces — aside) How mj words recoil upon me. {aloud) There, 
there, child, come into the house ; the night air is too chilly for you. 

JTe leads her up the rocks, loth ezit into house — Jessie instantly re- appears 
in the upper part of hut. 

Jes. {kneeling xvith clasped hands) Papa hasn't kept his word, but God 
will. Please heaven look down upon my slumbers. Guide my dear 
friends to this spot— (1ft/ .n'c — Joe and Mnit cppear on the rocks r. u. e., 
cross and descend slcicly uhile she is speaking) — and restore me to the arms of 
the mother who brought me up to love and trust in Thee. 

{she lies doicn and falls aslce]:) — Joe and Matt come c. 

Joe. {looking around) Well, of all blooming places, this is about the bloom- 
ingest. 

Mat. {lew) Sh-h! Not a word above a whisper, it would betray us. 
You are sure the child is here? 

Joe. {lew) Sure ! Why just as Fure as I am Ihar's as many nuggets in 
these old peaks as ever came out of 'em. 

Delmayne toithoiit r. u. e, is heard to sing drunkenly, both men run up and look 

Mat. Confusion! It is some drunken beast coming up ttie cut through 
the forks. Hide yourself. 

Joe darts ofi,. 1 e,, Mat r. 1 e. Gaspard runs on fr^m hvt as Delmayne dis- 
guised as a drunken mdner appears on the bridge. IJe has a lohiskey flask in 
his hand, a rope around his waist, ragged clothes pantaloons in boots, rough 
wig and heavy whiskers, hat pulled over face. He is singing drunkenly. 

Gasp, {as he enters) What noise was that ! (.sees Delmayne) Hello there 
who are you ? 
Del. Was zat — hie — your biz — niz ? Havver — hie — drink. 
Gasp. No I 



2 4 THE FOBTY-NmERS. 

Del. S'all right — hie — nee'n't git yer bac' — hie — kup. {sings and de- 
scends B. c.) "All git drunk, all git drunk, all git — " 

Gasp, {grasps his arm) Look her6, my man, what's your name ? 

Del. My name's — hie — Ananias Budge. Havver — hie — drink? 

Gasp, {curtli/) No. 

Del. S'all right, {is about to pass him, makes cross whe^i Gaspard grasps 
his arm.) 

Gasp. See here, I want to see your face. 

Del. Well — hie — yer can't do it ! 

Gasp, {angrily) I want to see your face. 

Del. Well — hie— yer can't do it. 

Gasp, {shakes knife under Ddmayne's hat — slowly) I want to see your 
face. 

Del. {pushing back hat) AVell — hie — yer kin do it. 

Gasp, {looks at him, gives a sigh of relief — aside) Good, my fears are 
groundless. He is a stranger. 

{goes up R., leans against rock, burying his face in his hands 

Del. Ain't — hie — a booty ? Wouldn't — hie — yer like to kiss me for my 
muzzer ? {moves slowly to l., till his back is to the guns, puts hand behind him 
and pours lohiskey down the barrels, talking all the while) Yer ain't — hie— 
werry sociable, pard, eh ? Wassher — hie — down ! Viewing booties — hie — of 
nature? S'all right, {comes c. quickly) Mebby — hie — yer don't know rne ? 
I'm the — hie — worst man in the S'erras. I'm the — hie— terror o' Shirt- 
tail canon, an' — hie — ( Gaspard turns) I'm out for fun — hie — out here tu 
raise — {loudly) — Jesse ! 

Gaspard utters a cry and springs to Mm — Jessie springs up in hut — Del- 
mayne very drunk. 

Del. S'all right, s'all right 1 J-e-s-s-e — Jesse! {Gaspard is re-assured, 
Jehie crouches under toindoio listening, Dehnayne motions her to silence with 
hand behind back) Good — hie — night, pard, good night. Havver drink? 

Gasp, (surly) No, fnol I 

Del. All right— hie— fool I {reels off h. 1 b., sings) **We'll all git drunk." 

Gasp. Curse that fellow! He gave me a start it will take hours to quiet 
down. I know one thing ; I'll be miles away from this spot by to-morrow 
night. 

Gaspard goes up and sits on bridge, his legs hanging over gulch ; back to 
house. Lights pipe ayid. smokes. Craven, knife in hand enters from hut 
and'sees him. At the same time Dtlmayne re-enters l. 1 e., and hides be- 
hind rock watching Craven. Music. 

Cra. {low) Fate plays into my hands. The hour for action draws on. 
I must be cautious ; from the rocks beyond I can creep upon him and then 
— one blow and I am made forever. 

Crqiven creeps sloioly up the rocks and off h. tx. e. Dehnayne springs up seizes 
vine and clambers up the side of house into the window. 

Jes. {quickly) Who are you ? 

Del. {loio) Hush, Jessie ! I'm a friend. Quick, knot this rope around 
you. Now then, out of the window! 

Delrfiayne ties rope around her waist and lowers her to the ground, she runs 
off R. 2 E. Craven is seen to steal up the bridge to Gaspard. Delmayne 
climbs down and follows Jessie during the following conversatioyi. 

Cra. {aside) My heart fails me and yet — {I'aises knife 

Gasp, {sees him) Craven, and armed ! {attempts to rise, Graven seizes 
lit^ and fo->'Ces him over edge of the gulch, raises knife.) 



THE FORTY-XINERS. 25 

Cra. Yes, Craven, the man whom you have robbed of his inheritance. 
Too long have my plana resulted in bitterest failure ; now the outcast shall 
drift into wealth and affluence upon his brother's blood. 

Gasp. Mercy, Craven 1 

Cra. My heart is dead to it. {forces him further over 

Gasp. Craven, Craven ! Mercy ! Spare my life and half my fortune 
shall be yours. 

Cra. All, or none. You offer me riches; I give you — the grave. 

Craven pushes Gaspard off into the gulch — with a fearful cry Gaspard 
disajypeai's — Craven stands transfixed. 

Cra. Safe, safe ! (comes down c. — Delmayne crosses quickly behind him 
with Jessie and runs on the bridge.) Help, help, help 1 

Big Lib and Wun Lung rush on from hut and seize guns. [Craven c, Big 
Lib L., Wun Lung k. 

Lib. T/hat's the matter ? 

Cra. My brother has fallen into the gulch. Come, come I {runs up, 
sees Delmayne) Who are you ? Ha, the child 1 fire upon him 1 {they at- 
teoyipt to fire guns but they toill not discharge.) 

Cra. (madly) Fool, give me the child ! 

I>el. You come and take her if you dare ! 

Delmayne tears off wig and whiskers, levels pistol at Craven. Mat and Joe 
enter r. and l., knock down Lib and Wun Lung and stands over them 
with leveled revolvers. — Picture. 

QUICK CURTAIN. 

J^^ This climax must be worked up quickly, Joe and Matt entering 
the very moment Delmayne levels pistol. 



ACT V. 

SCENE FIRST.— The Silver Sand Ravine. Full extent of stage. Moun- 
tain drop, sunset effect. Set cabin with trellis of flowers R. 2 E., door 
practicable. Rocks mask in flat forms and return piece h. v. E. A cas" 
cade of silver sand falls R. u. e. Set rocks all entrances. Warm effect. 

Gath c, reading from bible on his knee. Meg on chair r., embroidering, 
basket of xoork at her side. Jessie kneels near her rolling ball of wool. 
Kate on chair h., mending miner\s shirt, Joe nicely dressed leans over her 
watching. Lively music at rise of curtain. 

Gath. (reads) ''And when he cometh home, he calleth to-gether hia 
friends and neighbors, saying unto them, rejoice with me, for I have found 
my sheep which was lost." 

Meg. (looking up) And you are glad at toy return, dear father ? 

Gath. Glad, child? Even when I thought you lost to virtue and to 
honor, my arms were open to you ; but as this man's wife and not the crea- 
ture of his fancy, my heart is light once more at the restoration of Sun- 
light to the Sierras. 

Jes. {runs to him) And I'm so glad to have a grandpa. 



26 THE FORTY-NINERS. 

Gath. Bless its dear heart. {kisses her 

Meg. Richard has not called to-day ? 

Joe. No ; he's down at the claim. You see, we bought a bit of land the 
boys had given up — bought it dirt cheap — and luck seemed to play square 
into our hands from the very first. In three days we struck a vein of the 
pure metal ; opened a sluice, and to-day we're the richest men in the 
whole Sierra chain. Delmayne's a queer fellow ; he's worth a fortune now, 
but still you find him ever at the mines, overlooking the work just as 
though he hadn't a penny in the world, (looks off r. u. e.) As I live, here 
he is now, coming down the fiats. Work's over and he's just dropping in 
to say good day', and then be off to his cabin. 

Music — Enter, Delmayne dressed as a well-to-do mine owner, r. u. e. Jes- 
sie ricns to meet him, he kisses her and comes down r. c, Jessie goes r. 
of Meg. 

Del. Good day to you all. "Well, Joe, my boy, we're made now. 

Joe. What? You don't mean 

Del. A six ouncer, pare, this time. What do you think, Meg ? We've 
taken out the biggest nugget of the season. 

Meg. I'm sure you deserve your luck. 

Gath. If ever a man did. {rises) But come, Kate, it is time to prepare 
the evening meal. Of course you remain, boys? 

Joe. Rather ! {Kate crosses to Delmayne kisses him and txits into house 
with Gath) There, that's just itl Whenever I try to get a word with that 
gal, some one dr-.)ps in, and she drops out. But the words are on my lips 
and I'm goin' to hang on until I get a chance to ''pop," 

{exit into house after Kate 

Del. {up stage) Ho has gone. How my heart beats. That's a deuced 
nice child, but I wish she'd get out. {coming down c.) I say, Jessie, didn't 
I hear you say you were going to gather some fi.ower3 for mamma ? 

Jes. Oh, dear no. Papa Dick ; don't you know mamma never lets me go 
from her sight now ? 

Del. But mamma will let you go just this once if — if I ask it. 

Meg. {aside) Ah ! 

Del. Won't you, Sunlight? 

Meg. {aside) How my heart beats ! Do I read his words aright? {aloud) 
If you wish it. You may go now, Jessie, but don't stray too far. 

Jes. Oh, no, mamma. {hurries off over rocks h. v. ^. 

Del {aside) We are alone, {draws nearer) Margaret, I have come to 
say farewell. 

Meg. Farewell ! 

Dei. {aside) How the words move her 1 Do I dream ? {aloud) Yes, 
farewell, tor I am going away. Back to the city with its serpent lures and 
its hollow mockery of life — back — back {moved) to live again, to — to — 
forget. 

Meg. {springs up) Forget ! No, no, you must not go. You must — 

Del. Seek the shadows of a new life, to forget the shadows of the old. 
{Joe appea.rs at doorway — listens) Where, I know not, why — can't you 
guess ? Oh, Margaret, it is to be far away from you, far away from the 
memory of past dreams, (passionately) Meg — Sunlight — are 3''ou Lblind? 
Can you not see my folly ? I have dared to look up to the sun, but it is too 
bright for me ; I have dared — {breaks down 

Meg. Go on, go on ! 

Del. No — no, do not tempt me ! Oh, heaven ! I can no longer stifle the 
words. Y*^hy do you look at me so? On your lips hang my future life. 
It is for yoii to say, go, or stay — Margaret, my life, my soul, I love you ! 

3^eg Richard— stay ! {falls into his arms 

Del. My Sunlight at last ! 



THE FOETY-NINERS. 27 

Joe. {in doorway) Hem ! {they start) Oh, don't mind me, I was there, 
I saw it all. Well, {comes doion and raises hands semi- tragically) bless you 
my children. That's the proper caper. 

Del. Congratulate me, Joe ; I'm the happiest man on earth. 

{they shake hands 

Joe. Well, I aren't. 

Del. Why, what's the matter now? 

Joe. Nothing — I popped to Kate — that's all. 

Del Well, she didn't refuse you? 

Joe. No ; but she didn't say she'd have me either. She says she won't 
think of marrying till the stain is taken from her name. {Delmayne is 
moved) Now, Dick, I ask you, how in the world am I going to do that ? 
If that Craven Leroy would show up, it would be a diflferent thing ; but he 
aren't likely to do that seeing as how the miners are after him for the mur- 
der of ghis half brother, and hismonument would be the first tree if they 
caught him. Look here, Dick, old man, I never was cut out for single life 
but if that are sister o' yourn don't marry me, why, hang me if I don't die 
a spinster. 

Music — Confused sound of distant voices — Jessie shrieks without l. u. e. 

Meg. ) 

Joe. y {Together.) What's that! 

Del. J 

Joe. {rushes up) Hello, thar's the miners chasing a man down the 
peaks at lightning speed ! {Jessie shrieks) Why, hang me, if he ain't got 
a child in his arms. 

^y* I {Together.) A child ! {sound of voices kept up 

Joe. Yes, why, look — it's no mistake — it is Jessie I 

Meg. Oh, for mercy's sake save my child ! {Jessie skrieks 

Joe. Ah, he turns the cut — he is coming this way. Now — ah, look 
Dick, look Sunlight, we should know that face. It is Craven Leroy I 

{Meg screams 

Enter, Kate and Gath, from house. 

'Gath I (^o^re^Aer.) What's the matter ? 

Meg. My child, my child ! {voices nearer 

Del. Stand back, all of you; he has not yet seen us ! 

Joe goes L., the others n. Ijoud shouts^ Craven Leroy in rags, pale and liv- 
id dashes down the rocks l. u. k., with Jessie screaming in his arms — he is 
about to dart off r. 2 e., when Delmayne steps before him toith leveled pistol. 

Del. You stand back ! 

Craven utters a shriek of dismiy, drops Jessie who is caught up by Meg — he 
turns to fly l., but is met by Joe who levels pistol. 

Joe. Don't run ag'in that, pard, for it means six months consumption. 

Cra. Trapped ! Maledictions ! what does this mean ? 

{voices low kept up 

Joe. A pretty considerable you can bet yer boots. Do you hear that 
noise? It's the old 49ers, with the devil in 'em coming down the peaks to 
hang you up to the nearest tree. 

Cra. {cringes) Mercy, mercy ! 

Joe. We don't sell it here. Kate, my gal, I swore I'd win you, and now 
I'm goin' to keep my word. Parson, join these two hands. Don't lose a 



28 THE FORTY-NINERS. 

second, for in one minute the boys will be down upon ng. Quick now, 
make this the quickest marriage and the shortest ceremony ever heard tell 
on, for in five minutes this gal must be a widder. Sharp's the word now, 
for Judge Lynch won't be kept waitin'. (Joe joins hands, shouts draw near 

Gath. Will you take this woman for your wedded wife? 

Cra. No ! (Joe and Dzlmayne level pistols) Yes ! 

Gath. Will you take this man to be your wedded husband ? 

Kate. Yes. {loud shout, miners appear on rocks L. u. e., with a rope 

Gath. Then I pronounce you man and wife. 

^5 the last words leave Gath's lips the men seize Craven, throw the noose 
around his neck and drag him off h. u. e., shouting. 

Joe. Thar boys, take him on his weddin' '-'tower." Kate, my gal, now 
will you have me? {open his arms, she crosses and falls into tf^em 

Kate. Yes, Joe, and with heaven's help I'll atone for the past by love 
and honor in the future. 

Joe. Hooray I I soy, parson, you'll have a couple to splice in the morn- 
ing. 

I)eL {leads Meg forward) Yes, and another couple here, father, 

Gath. How's this? Why, Meg, you seem in as much of a hurry for a 
second husband as Kate, here. 

Meg. Yes, dear father, because like hers the first was a fancied love, and 
again like her, the second is a real one. {embraces Delmayne 

Loud shouts, all the miners re-enter l. u. e. 

Mat. He's gone ! 

Joe. What, dead? 

I^at. As a door nail.* {miners cheer 

Del. Ths shadow is past, dear lore, the sun sets in gold and crimson be- 
hind the hills, and it is light at last. 

Meg. {looks up at him) Yes, Richard, and to eternity. 

pel. {to audience) But what shall I say to you who have borne with my 
mfthy passions so generously? I have gained the jewel for which I s|;rove, 
bp it will sparkle the brighter if it be set in your approbation. I haye ^ut 
one boOn to crave — that you may be as happjr always as I now afai, Add 
sl^ould sorrow come, that its shadows may pass away as effectually as mine 
h&ve done, here in the Sierras, among — The Forty-Niners. 

^Situations at close. 

Miners. Miners. 

Gath: 

Jessie. Meg. Delmayne Kate, Joe. 

All seated but Delmayne, Joe and Miners, 



CURTAIN. 



THE rOETY-NINERS. 29 



NQTE. — The music and the right to illustrated printing of this piece, may be 
obtained by addressing the publisher. 



COSTUMES— CONTINUED. 

Wun Lung. — Act 2. Chinese dress ; plug hat. Act 4. Linen duster 

very ragged. 

Matt Mathers. — Same as Delmayne in act 1. 

ClifCushard. " *' 

Big Lib. u u 

Miners. " " 

Kate Delmayne, — Act 1. Dark hair; black dress very plain ; shawl over 
head. Act 5. Light muslin dress. 

Margaret Gath. — Act 1. "White muslin dress, blue sash; white leghorn 

hat, blue streamers ; golden blonde hair. Act 3. Magnificent toilet of 

pale blue satin, and diamond jewelry. Act 5. Plain black velvet 

dress, long train. 

Molly Maglone. — Conventional Irish servant girl's dress, extravagant ; 
sleeves rolled up, duster in hand ; fiery red hair. 

Jessie Leroy. — Act 3. White muslin dress with blue sash and blue silk 

stockings and shoes, change to night-dress. Aqt 4, Dark ragged dress 

and shawl: torn shoes. Act 5. "Wliite muslin dress and black sash, 

b'ack stockings and shbes. 



"AMATEUR THEATRICAL RECORD." 



A Paper Especially for Amateurs. 



We call your attention to this advertisement of "The Amateur Theatrical 
Record," a paper now being issued by us, and earnestly ask your support of 
the same, not only good will, but subscription. Please read carefully. 

Tke Object. There are hundreds of Amateur Companies in the United 
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Record was established. In its columns are noticed aZZ new plays, as is- 
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We wish to receive a letter from every person who may read this, with a 
subscription, also any suggestion, etc. about the paper. 

Address A. D. AMES, 

Dramatic Publisher, 

CLYDE. OHIO. 



A. D. AMES, PUBLISHER, CLYDE, 0. 

OT/R BUSIXESS-WE:^T WE DO. 

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MA GNESIUM TABLEA U LIGHTS. There is scarcely a person who 
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paid. Ynose who do not know how to burn them, will be instructed by 
addressing the publisher. 



I RECENTLY PUBLISHED. 

t5 An entirely new and original Nautical and Temperance Drama, hy the Am- 
"g ateur' s favorite author, W. Henri Wilkins, entitled 

; THE TURN OF THE TIDE, 

3 OR 

I WRECKED IN PORT. 

u 

& ,&, 

<u 

W There is no doubt but Mr. Wilkins is at this time the most popular writer 
^ of plays for Amateur Dramatic Companies in the United States, if not in the 
j^ world. He is the author of Kook Allen the Orphan, Three Glasses a Day, 
^_ The Eeward of Crime, Mother's Fool, The Coming Man, etc., all of which 
g have been produced by nearly all amateur companies in the United States 
rt and Canada. "We take much pleasure in presenting now his latest and best 
^ drama as above, knowing that it will invariably suit all who purchase it. 
"^ The characters embrace an old man, 1st. and 2d leading men, villain, two 
« ruffians, and a 'nigger' who is very funny. Those who have produced 'Out 
'^ in the Streets' will find 'Pepper' in this play, fully as funny as 'Pete' in 

that. Female characters are a fault-finding old woman, leading, juvenile, 

1 and a splendid comedy. The plot is simple, and yet very effective. The 
O serious portions are balanced by the comedy ones, indeed it is the drama 
5 Amateurs want. See synopsis below. Price 15c each. Send one cent post- 
^ age stamps if possible, or 28 and 3s. A. D. AMES, Pub., 

Clyde, Ohio. 

QJ — 

i SYNOPSIS OF EVENTS. 

Act First. — The fisherman's home — reminiscences of the wreck. Thegath- 
% eriug storm — Reference to the money — Entrance of the Pirate — Aunt Becky 
©expresses her opinion of him — Pepper tells his story — The sunset gun — The 
3 storm breaks — Susie's secret— Pepper struck by lightning — A signal of dis- 
H tress on the water — Clyde's proposal — "I have the power'* — Lillian's secret 
^» — "Why can't I die! He has forfeited all claims to honor or respect, and 
« hopelessly cast me off, yet notwithstanding all this, I love him." — Entrance 
•■^ of Clyde, "You here ! Begone and let your lips be sealed, or I'll cut out your 
rt quivering heart and throw it to ihe 'fishes who sport in yonder deep" — 
^ Clyde's soliloquy "Ah, Capt. St. Morris, a fig for your gilded castles built 
n:4 on air." — The pirates rob the house. 

^ Act Second, — Frisky's communings — She and Pepper have a little falling 
« out — Pepper's pursuit of knowledge under the table — Clyde shows his colors 

2 and plays his first card, "Then my answer must be 'yes,* though it break the 
^ heart of my child." — The old man tries to drown his sorrow — Pepper goes 
^ for clams — Entrance of Lillian, "Yes, pirate though you are, and chieftain 
g of the hunted crew, I love you still ! The time will come when you will find 
(g I am the truest friend you ever had." — Aunt Becky relieves herself of a few 
jH ideas and Pepper gives her a few more — The old fisherman falls a victim to 
% Intemperance, and Aunt Becky expresses her opinion of "sich doins." — The 
M meeting of Clyde and St. Morris — The combat — Death of Clyde, "Oh, Hea- 
^ ven 1 I am his wife." — Tableau. 

o 

H Act Third. — One year later — Company expected — Pepper has a "werry 
curis" dream — Capt. St. Morris relates a story to Susie — Love-making inter- 
=Q rupted by the old fisherman — His resolution to reforni — Aunt Becky thinks 
^ she is 'slurred.' — Lillian communes with her own thoughts — The Colonel ar- 
1^ rives — Pepper takes him in charge and relates a wonderful whaling story — 
^ Restoration of the stolen money — "The same face. Heavens 1 I cannot be 
^ mistaken." "It's all out." — The Colonel finds a daughter— He tells the 
§ story of his escape from the wreck — Old friends meet — The Colonel's propo- 
sal and acceptance. "Bress de Lawd.'* — Happy ending, with song and 
chorus. — '*Wait For The Turn Of The Tide," 



AMES' PLAYS,-CO]S^TI]^UED. 



NO. M. P. 

46 Man and Wife, drama, 5 acts, by H. A. Webber 12 7 

91 Michael Erie, drama, 2acts, by Egerton Wilks 8 3 

36 Miller of Derwent Water, drama, 3 acts, by E. Fitzball 5 2 

88 Mischievous Nigger, ethiopean farce, 1 act, by C. White. ..4 2 

34 Mistletoe Bough, melo-drama, 2 acts, by C. Somerset 7 3 

69 Mother's Fool, farce, J act, by W. Henri Wilkins 6 1 

1 . Mr. & Mrs. Pringle, farce, 1 act, by Don T. De Treuba Cosio..7 2 

23 My Heart's in the Highlands, farce, 1 act, 4 3 

32 My Wife's Relations, comedietta, 1 act, by Walter Gordon. ..4 4 
90 No Cure No Pay, ethiopean farce, 1 act, by G. W. H. Griffin..3 1 
61 Not as Deaf as He Seems, ethiopenn farce, 1 act, 2 

37 Not so Bad After All, comedy, 3 acts, by Wybert Reeve 6 5 

44 Obedience, comedietta, 1 act, by Hattie L. Lambla 1 2 

81 Old Phil's Birthday, drama, 2 acts, by J. P. Wooler.. 5 2 

33 On the Sly, farce, 1 act, by John Madison Morton 3 2 

109 Other People's Children, etho farce, 1 act, by A. N. Field 3 2 

85 Outcast's Wife, drama, 3 acts, by Colin H. Hnziewood 12 3 

83 Out on the World, draina, 3 acts, 5 4 

53 Out in the Streets, temp drama, 3 acts, by S. N. Cook 6 4 

57 Paddy Miles' Boy, irish farce, 1 act, by James Pilgrim. .....5 2 

29 Painter of Ghent, play, 1 act, by Douglass Jerrold .5 2 

114. Passions, comedy, 4 acts, by F. Marmaduke Dey 8 4 

18 Poacher's Doom, domestic drama, 3 acts, by A. D. Ames 8 3 

51 Rescued, temperance drama, 2 acts, by C. H. Gilbert 5 3 

110 Reverses, domestic drama, 5 acts, by A. Newton Field 12 6 

45 Rock Allen the Orphan, drama, 1 act, by W. Henri Wilkins..5 3 

96 Rooms to Let without Board, ethiopean farce, 1 act, 2 1 

59 Saved, temperance sketch, 1 act, by Edwin Tardy 2 3 

48 Schnaps, dutch farce, 1 act, by M. A. D. Cliffton 1 1 

107 School, ethiopean farce, 1 act, bv A. Newton Field 5 

115 S. H. A. M. Pinafore, burl'sq, 1 act, by W. Henri Wilkins... 5 3 

55 Somebody's Nobody, farce, 1 act, by C. A. Maltby 3 2 

94 Sixteen Thousand Years Ago, ethiopean farce, 1 act, 3 

25 Sport with a Sportsman, ethiopean farce, 1 act, 2 

79 Spy of Atlanta, military allegory, (J acts, by A. D. Ames. ..14 3 

92 Stage Struck Darkey, ethiopean farce, 1 act, 2 1 

10 Stocks Up, Stocks Down, ethiopean farce, 1 act, 2 

62 Ten Nights in a Bar Room, temperance drama, 5 acts, 7 3 

64 That Boy Sam, etho farce, 1 act, by F. L. Cutler 3 1 

40 That Mysterious Bundle, farce, 1 act, by H. L. Lambla 2 2 

38 The Bewitched Closet, sketch, 1 act, by H. L. Lambla 5 2 

87 The Biter Bit, comedy, 2 acts, by Barham Livius 5 2 

101 The Coming Man, farce, 1 act, by W. Henri Wilkins 3 1 

67 The False Friend, drama, 2 act, by Geo. S. Vautrot 6 1 

97 The Fatal Blow, melo-drama, 2 acts, by Edward Fitzball.. .7 1 

93 The Gentleman in Black, drama, 2 act,*^W. II. Murry 9 4 

112 The New Magdalen, drama, pro 3 acts, by A.Newton Field. ..8 3 

71 The Reward of Crime, drama, 2 acts, by W. Henri Wilkins..5 3 

16 The Serf, tragedy, 5 acts, by R. Talbot 6 3 

68 The Sham Professor, farce, 1 act, by F. L. Cutler 4 

6 The Studio, ethioj)ean farce, 1 act, 3 

102 Turn of the Tide, temp drama, 3 acts, by W, Henri Wilkins. ..7 4 
54 The Two T. J's, farce, 1 act, by Martin Beecher 4 2 

^^ Catalogue continued on last page of cover. •'^^ 



LIBRftRY OF congress! 



I 




AMES' PLAYSr-COlSf 017 198 519 5 



NO. . M. 

7 The Vow of the Ornani, drama, 3 acts, by J. N. Gotthold 8 

28 Thirty-three next Birthday, lorco, 1 act, by M. Morton 4 

lis Those Awful Boys, etho farce, 1 act, by A. Newton Field 5 

63 Three Glasses a bay, teni dm, 2 acts, by W. Henri Wilkiiis...'.t 

105 Through Snow and Sunshine, drama, 5 furts. ■ 

4 Twain's Dodging, etho farce, 1 act, by A. Newton Field 3 

5 When Women Weep, cora'd'ta, 1 act, by J. N. Gotihnid 3' 2 

56 Wooing Under Difficulties, farce, 1 act, by J. T. Douglass. ..4 3 

41 Won at Last, comedy drama, 3 acts, by AVybert Beevc. 7 3 

70 Which will he Marry, farce, 1 act, by Thos. E. Wilks 2 8 

58 Wrecked, temperance drama, 2 act?, by A. D. Ajne^ 9 3 

111 Yankee Duelist, farce, 1 act, by A. Newton Field 2 2 



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Please notice that we will not fill telegraph orders, and will not 
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Our books may be ordered fi-om any bookseller in the United 
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Amateur companies often have tr/iuble in procuring Plays suited 
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suitable can be found. This cnn be avoided. Our list embraces Plays 
suitable for all companies, and if our friend^s will write to us, stating 
their requirements, we can suit them. Enclose 15 cents per copy 
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We do not make any discount on a number of copies of books, 
neither will we send Plays out to be returned if not suitable. 

A complete Descriptive Catalogue will be sent free to any one on 
application. Send a postal card with your address. 

A. D. AMES, Pub., Clyde, Ohio. 



